In my last blog, The Physics of High Notes on Trumpet, I asked you to watch this video and answer the following questions. I have provided some feedback without giving you direct answers to provoke more thought on each variable. 1. Describe my use of air throughout the demonstration. Did the air volume change as I played higher and lower? What about air speed? Air volume defines the physical quantity of air flow. Play a long tone in the staff beginning at pp then crescendo to f and back to pp. Think about air volume and how this changes with audible volume or decibels. What is air speed? Have you ever stopped to consider how fast or slow the air is being released into the mouthpiece? Think about how air speed changes in relation to air volume. This is the result of our physical design and this is true in almost all of nature.

2. I played most of this clip with one hand to keep my right arm out of the equation. How much mouthpiece pressure was present on my lips? Explain my use of mouthpiece pressure in detail.I often use the minimum pressure necessary, but mouthpiece pressure does change slightly as I play higher and lower. It is more common for mouthpiece pressure to be a major factor in controlling pitch whereas I rely on other mechanisms to achieve the upper register. Take a minute to honestly assess your use of mouthpiece pressure as you play high or for long periods of time. How can you explain the mechanics of your specific use of pressure. Compare this to what you believe is true of my demonstration. This is an exercise is discovery so don't expect to find an exact answer.

3. It can be difficult to gauge volume in terms of decibels in an online video. Describe your impressions of volume in this example and how this may apply to brass playing in general.

I bring up volume as this is extremely important in understanding what is realistic when playing in the upper register. Low notes are generated by long waves, which have greater potential to increase in amplitude. In other words, it is generally easier to play low notes loud. And conversely, it is more difficult to play high notes loud. Natural laws state that the higher the note (shorter waves) you produce, the softer the dynamic (lower decibels). Many trumpet players believe that high notes should be played as loud as possible. But in reality, this is the most difficult and unnatural state of a high pitch. Sure we all think of Maynard or your favorite lead player who can rip out a double high C at ff. But this kind of playing goes against all the rules of physics and it is the exact opposite of how I and many others learned to play in the upper register. I played this example starting at ff (by accident) and immediately reduced my volume to f. Then I decrescendo as I play higher. My double high C was around mf like many of you suggested. It is natural to reduce audible volume as the pitch increases and great care should be taken to make this a habit in your practice sessions. Creating this one habit in your playing will allow your embouchure and the rest of your body to truly exercise the range of movement necessary to play both low and high. Forcing out high notes at a high volume prevents most players from ever discovering the entire set of variables necessary to master the mechanics of brass playing. Hopefully, this has given you more to think about rather than direct answers.

4. I mentioned longer and shorter lips in my definitions of range above. What are your thoughts on lip length as it relates to range? Why is there a break between the top and bottom lip as it relates to range?﻿Again, without giving direct answers, my goal here is to get you thinking. How does the length of a violin string determine pitch? Is there any way your lips, or more specifically one of your lips could be controlling length? This is a key element in mastering the full range of any brass instrument and ironically trombone and tuba players often discover this before the high brass players. ﻿Please leave your comments and I'll pick up where we left off next time.

Great post. The only thing for me is the buzzing length. I try to keep it relaxed and wide. If it shortens too much it gets stuffy.

Reply

Ray Berggren

8/24/2014 03:59:08 am

As a trumpet player I am apparently impaired, but I'm still not understanding your usage of the term "lip length." It could be total distance of flesh that extends beyond the teeth? Or as we place int he mouthpiece, with jaw in playing position, which covers a greater duistance to get to the cutting edge of the teeth? These are both vertical "length." Or do you mean horizontal?

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markbouyer

2/26/2015 11:04:05 am

I don't understand what is meant by lip length.
Also, what do you charge for placing an .AG.R. on a trumpet?

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Greg Z

8/27/2014 07:59:07 am

While it may not be natural to play loud in the upper register, it is almost always what is required when playing lead jazz or rock charts. To put it another way, if you are playing that a lead book, the arrangements aren't asking one to play above a C and do it softly or sweetly.

Playing loud and high is a very difficult task that a small percentage of players are able to do reliably throughout a gig.

Using the "valveless multi-octave scales" that Jason suggest is a great way to improve your upper register. Other really fine players have taught this exercise as well.

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Conor

3/12/2015 06:52:42 am

Hi Jason,
fascinating reading! I'm a return to trumpet player after a 20+ year gap. I played trumpet in the youth orchestra and then front row cornet in a competitive brass band. I recently was persuaded to pick up the trumpet again by 2 of my friends who make their living playing trumpet. In truth even at my best I could just about make top C and could never venture beyond this much. I enjoy playing in the middle register and am getting my tone back quite well. Now that I have restarted I am reading around with an open mind - thus reading your page which is inspiring. I'm pleasantly surprised at my progress and am rehearsing with a big band once a fortnight. I'm determined to try and minimise pressure on my lips and develop a way to even get to top C with control and tone.
Grateful for any comments and advice
Conor

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Boboala

1/25/2019 12:35:38 pm

Hey Conor, your story is bringing back memories & we both are playing again. I majored on trumpet in the late 70's. Prior to that a kid moved to my high school my senior year who was a Maynard freak and got me started on what's been almost a lifelong high note obsession! And major frustration and disappointment...
A shallow MPC and logically more practice/interest in the trumpet added 2 or 3 steps to my range (uh, mostly just saving up for the last big chord too show off!) in high school - up to F over 2 ledger high C. However, after 4 years undergrad study I gained not even a squeak above that F! Not long tones, or pedal tones, or Claude Gordon method, nor lip slurs/flexibility, or running & weightlifting and breathing exercises did any good in terms of range. So now comes the early 80's and I decided to go to grad school after a year hiatus. During this time I had gotten a hold of the Adams "The Routine" from IU which consists basically of starting your practice day with balls to the wall FFF long tones...using all air! Then all other stuff on top of this...takes hours. I was 'hung up' on being a high note guy at grad school & after all how are you going to play Brandenburg #2 without some high chops (oh, and a D trumpet)?
So off I go and my embouchure is so stiff and tone ragged & racous from over-blowing too darn loud! But check this out. After I get there and auditions were held, who got into some higher chairs and select ensembles? Some of the undergrads majors! I knew these kids & we hung out and they had WORSE range than I, and all told me that high C or D was about it for them! But what did they have instead? Beautiful dark steady tone, nice/consistent attack & intonation, etc. I totally missed the boat. Ended up changing my major. Played on/off for years in local dance bands, muny band, and a funk band 5 years ago where the range problem popped up again. So I quit playing. Now I have the urge again.
Here's the moral of the story on trumpet players & high notes: you either are born with lips/teeth/tongue/throat cavity/lung attributes that naturally can produce high notes...or you're NOT!
Plain & simple! Oh, you might glean a few steps like I did initially way back, but c'mon man, my best friend in marching band was a non-major, never practiced and could sir on a high G over the top of that band! Small skinny guy, too!
But ALL this being said...LOL...have to admit I'm intrigued by 1 new insight I saw 3 or 4 years ago by a studio cat who showed short closeup vids of all the major cats as they did their special 'set' with their lips, and licked 'em 1st! I've NEVER done that! Hated wet lips on the MPC. But tried it the other day, and...uh-oh! Here I go again! LOL! Doing isometrics, too. I want muscles on my face now like the incredible Hulk!
Keep tour tone & technique sacred over the high notes, Conor. I got a feeling you are/were like those undergrad kids back at FSU!